The Subdominant Triad

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CHAPTER 6 TASK LIST - Follow this "menu" as you work through Chapter 6 at your own pace.

READ CHAPTER 6. As you read, fill in the missing information from the CHAPTER 6 (The Subdominant Triad) NOTES pages in the course workbook.

CLICK HERE for a Summary of Cadence Types (Authentic, Half, Plagal, Deceptive) at Teoria.com.


Assn. 6.1 (Spelling the Subdominant Triad, Major Keys)
Working through Assn. 6.1, #1-3 (Dr. Watson)


Assn. 6.2 (Spelling the Subdominant Triad, Minor Keys)
Working through Assn. 6.2, #1-3 (Dr. Watson)


Assn. 6.4, #1-5

Assn. 6.5 (Locating and Bracketing the Subdominant Triad in Melodies)
Working through Assn. 6.5, #1 (Dr. Watson)

Assn. 6.5, #1-4

Assn. 6.7 (Writing Plagal Cadences, Given Bass Notes)
Working through Assn. 6.7a, #1-2 (Dr. Watson)


Assn. 6.7 cont'd (Writing Plagal Cadences, Given Soprano Notes)
Working through Assn. 6.7b, #1-2 (Dr. Watson)


Assn. 6.9 (Procedure for Part-Writing IV-V)
Working through Assn. 6.9, #1-2 (Dr. Watson)


CHAPTER 6 PART-WRITING REVIEW - Click here, print and complete.

Assn. 6.11 (Harmonizing Soprano Melodies with I-IV-V)
Working through Assn. 6.11, #1: Two solutions, major and minor (Dr. Watson)



Folk Song Harmonization
Guidelines for Creating a Folk Song Harmonization - Here are some guidelines to keep in mind when harmonizing a melody.

Using chords you know, indicate with Roman numerals in the spaces provided the best chords to support notes in the tune, "She'll Be Comin' Round the Mountain." [Noteflight.com score: "She'll Be Comin' Round the Mountain"]


Using chords you know, indicate with Roman numerals (below staff) and pop/jazz chord symbols (above staff) your own harmonization for one of the folk songs on this sheet.

OPTIONAL: Your instructor may ask you to typeset your song harmonization using Noteflight.com (a web-based music notation app). CLICK HERE for instructions on using Noteflight.